Sheffield’s most time honoured live music venue is now at the forefront in the running for one of the industry’s most prestigious awards.

The Leadmill – which celebrates its 31st birthday this year –constituted one of the nine venues originally nominated for the Live UK Music Award and has now made it through to the final round of voting, which will conclude at the awards ceremony on the 6th October.

Short-listed as one of the final three establishments nominated for the Best Venue Teamwork (+800) award, The Leadmill is competing alongside Nottingham’s Roxy City and Brixton Academy with Koko – both greatly esteemed London venues.

Live UK is the only music industry publication focused solely on live music, read by the industry’s most influential people, and the award is an outstanding achievement for one of Sheffield’s most highly regarded music venues.

Rupert Dell, General Manager of The Leadmill, said “We are so very proud to have made it into the final three nominees for this award. We pride ourselves on hosting outstanding gigs every time and feel this accomplishment sums up just how passionate we are about delivering fantastic live events.

We’re so excited and this nomination is testament to the huge efforts the team puts in, as well as the loyalty of those who continue to support and enjoy The Leadmill.”

The winning nominee for each category will be announced at the award ceremony, which takes place at the Radisson Blu Portman Hotel in London on the 6th October.

This Autumn The Leadmill are offering another outstanding line-up, hosting gigs from Benjamin F Leftwich, The Pierces, Miles Kane, The Twang, Pop Will Eat Itself, Billy Bragg, British Sea Power, The Pigeon Detectives, Death in Vegas and many more.

See here for their full line-up and to purchase tickets or for updates on The Leadmill events visit their Facebook or Twitter pages.

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Old habits Di’ hard | Diana Vickers
Tuning In: Part 1

Sheffield’s longest standing live music venue is in the limelight after being nominated for one of the UKs most prestigious music awards, following enduring success.

The Leadmill, which celebrates its 31st birthday this year, has been nominated for a Live UK Music Business Award. The award is one of the industry’s most highly esteemed acclamations, the final ceremony for which is due to take place on the 6th October.

Live UK is the only music industry publication focused solely on live music, read by the industry’s most influential people, and the award is an outstanding achievement for one of Sheffield’s most prided music venues.

The nomination, which came from industry peers, is for Best Major Club Venue (800+) Teamwork and comes after The Leadmill won Best Live Music Venue in Sheffield at the Exposed Magazine Awards in February of this year.

Rupert Dell, General Manager of The Leadmill, said “The Leadmill prides itself on hosting some of the music industry’s most commended acts and ensuring each event is run to the highest standard.

We’re incredibly proud and excited to have been nominated for such a prestigious award and so grateful to everyone who supports The Leadmill. We are ecstatic that people enjoy the venue so much and urge anybody who loves us or has been down recently to vote for us.”

To vote for The Leadmill and help them win this most exciting award for Sheffield, follow the below link:

Vote for The Leadmill

Details of the Top 3 nominees in each of the 21 award categories will be publicised in advance of the event and the winners will be announced at the final award ceremony, which takes place at the Radisson Blu Portman Hotel in London.

This Autumn, The Leadmill are offering one of their strongest ever line ups, putting on gigs from Hard-Fi, Benjamin F Leftwich, The Pierces, Miles Kane, The Twang, Pop Will Eat Itself, Billy Bragg, British Sea Power, The Pigeon Detectives, Death in Vegas and many more.

See here for their full line-up and to purchase tickets or for updates on The Leadmill events visit their Facebook or Twitter pages.

Don’t forget to vote for The Leadmill

The Leadmill Gig Reviews

Old habits Di’ hard | Diana Vickers
Tuning In: Part 1

How many times have you found yourself at a festival, by all accounts having the time of you life, wishing the main man had made at least an 8th day purely for this purpose, yet by day three secretly wished for a shower that isn’t a flying bottle of wee, shampoo that isn’t dry, and a cheeky recovery day by the sea, so that you can have a quick dip and refresh ready for the rave again? For as much as we love festivals and embrace all the snags they might imply – mud, insomnia and anyone who doesn’t reek of last Wednesday suddenly appearing sexy – the dream has always been to do the fun, without the sweaty tents and warm beers we must abide with it. This year, a few short weeks ago, my ravers and I found this dream, in the form of a beachside festival in the heart of Europe, and I can say with most certainty it was phenomenal. From the makers of Parklife, Metropolis and Wax-on, The Warehouse Project and Electronic Music Group bring you…Hideout Festival.

Located on the beautiful island of Pag (that’s “Pag” to you) in Croatia, Hideout 2011 was itself a virgin to the electro-fest scene, and it could only hope that the exciting line-up of D&B, dub-step, techno and dance would transcend the expectations of the 10,000 strong – predominantly British and German – attendees who’d travelled by train, plane, bus and ferry to reach this buried gem. It needn’t have worried. Although many at first looked blank when they heard “Hideout”, this was the beauty of it and for me what made Hideout so appealing. Unlike many better known European festivals, Hideout was off the beaten track and exclusive to the nifty few who managed to get in there this time around, keeping it restricted to the genuine music lovers who went for the sounds not the status. And most importantly it was brand new – a blank canvas for the class of 2011 to deface however we pleased, and oh how we painted…

What you need to know – Croatia, coaches & Kuna

Living up to its name, Hideout’s far-flung location was admittedly a small mission to reach (one taxi, one plane, several buses, a coach, a ferry and another taxi per person), yet this was the only taxing part of the entire event. Once arrived, it was worth the trek, as what welcomed us was a universal sense of being safely detached from reality, on an electronic island of joy, where the road signs danced and the streets weaved a melody. For 3 days from Friday 1st –Sunday 3rd July Pag came alive with crowds of eager and animated dance loving ravees. All thrown together within the sounds of a phenomenal, intoxicating line-up which for the cost of only £70* for all 3 days, made the UKs counterpart festivals like Global and Creamfields blush. All this under a bright blue sky which seemed never to darken. Hideout had ARRIVED.

My friends and I left London at 3.30am (yawn) the Thursday before kick off, and rocked up to the little town of Novalja on Pag approx 16 hours later. No strangers to festivals, we descended armed with hats (which miraculously remained undamaged and present for the entire trip – at the expense of our mobiles and wallets which we failed to keep an eye on), clutching our scrunched up tickets and owning that excited anticipation only experienced when it is 100% guaranteed you’re about to be thrown into a sea of musical brilliance, surrounded by like-minded on an island where the sun never sleeps (apart from on the arrival day when it rained quite a lot.)

Novalja offered the perfect balance between authentic Croatie and holiday maker’s sparkle, the untainted beach lined with restaurants, bars and stores from which to buy our nightly fuel. With the cost of drinks at the festival and across the island coming in fairly cheap (averaging around 20 Kuna for a beer – approx £2.50) it was never going to break the bank, but it also did no harm to stock up in advance, and for this there were several shops scattered in amongst the apartments.

The main beauty of Hideout was the lack of camping required. Although admittedly the camping can be more than half the fun of a festival, it was even more fun to have proper showers every day, somewhere to bask our scorched bodies under air-con and a fridge to put our make-up in. The balconies on which to watch the vivid Croatian sunset also outshone the muddy fields of Glastonbury. Novalja housed most of the accommodation for the festival goers, which varied from apartments exceeding expectations (complete with balcony, clean bathroom and an actual glass cabinet with ORNAMENTS – just like being at Grandmas) to run of the mill hostel type rooms. Being the festival’s first year, the accommodation process was a lucky dip for all attendees (we got lucky) but it did not matter. For no-one was there to sleep.

What you want to know – the DJ’s & The Dance

The festival itself took place on Zcre beach, which is swiftly becoming the San Antonia of central Europe, and is a 5 minute bus ride away from Novalja’s centre. This conveniently meant all carnage could be left at 7am each morning and returned to at 10pm each night once the Hideout fairies had tidied it all away and restocked the bars. That said, the main carnage I witnessed was in the getting ON one of the (very regular) buses to and from Zcre every night. It was like no other bus-anarchy you’ve seen before, and the festival itself appeared timid by comparison. Broken glass, fights, rocks thrown at bus windows…yet one would only expect to see such bloodshed when fighting for something special, and true enough all was quickly forgiven once we had bandaged up our wounds and placed ourselves firmly on Zcre beach, in front of the main stages, with a beer in our hands and the sounds of our favourite DJs burning a painting in our memories.

The festival was spread out across Zcre’s two main clubs, Aquarius and Papaya. Aquarius housed two smaller stages which boasted sets from the likes of Jamie XX, Jack Beats, Friction, Toddla T, Pendulum, Caspa, Shy FX and Andy C – predominantly the place to be for those wanting a bit of nostalgic old-school ravery to the sounds of the DJ’s which saw us through our university days. However it also opened its doors to the House and Techno sounds of huge acts like Nero, Seth Troxler, Damien Lazarus and Art Department.

Right next door was Aquarius’ nightly rival Papaya. As exotic as it’s name, Papaya offered on its outdoor main stage huge acts including techno legend Sven Vath, the magical mixes of Annie Mac and, on a phenomenal final night, the powerful sounds of Erol, Fake Blood and 2ManyDJs. Papaya was for me the preferred arena, not least because of the calibre of acts offered up each night, but also because there is simply nothing like dancing on the sand at 5am, while the sun comes up over a world so far removed from the 9–5 back home and you’re transported into a literal clubbers paradise.

As Ibiza Voice puts it “Nothing beats clubbing outside the (dark, sweaty) box in an exciting new place, everyone knows that.  As such, Hideout seems like the perfectly tasteful way to combine some blissful r&r with that other most important raving.”

I couldn’t agree more. The last time I saw 2ManyDjs I was in the black underground of Sheffield University’s infamous D&B Night Tuesday Club, and I loved it then. But this was small trade compared to the magnitude of their set on the final night in Papaya, where the crowd went crazy for the thrill as they pelted out their mixes that had us lose tack of time and find ourselves at the end of the euphoric sweaty set, wondering where the last few hours had gone. This was needless to say a definite highlight.

The best bits

The beauty of this beach festival? Hideout combines the relaxation and stamina of a beach holiday, with the intense euphoria of electronic club nights and turbo charged festival fever. Consequently, most took the wise decision to turn this 3 day rave into a week long beach holiday, and for the nights either side of the Hideout invasion, there is Kalypso right on Zcre, which offered up beach parties by day and somewhere to warm up our clubbers souls by night.

Also not to be missed were the host of Hideout boat parties taking place every day from Thursday to Sunday. Hosted by Bigger Than Barry, Crosstown Rebels and Digital Soundboy to name but a few, these limited capacity parties offered the opportunity to see your favourite festival acts for a second time, featuring Seth Van, Shy FX, Jack Beats, Art Department, Toddla T and more, depending on your preferred experience. Costing between £20 — £30 for the 4 hour trip and with 10 different parties across the 4 days, it was a necessity.

“Boat Party” to me has always conjured up 18-30s images of people being forced to drink fishbowls whilst stripping and ultimately falling over board in a drunken trance, but Hideouts boat parties were of a different class all together. We risked the Jack Beats party hosted by Deconstruction Records on the Saturday and despite the initial struggle to be on the boat for 1pm (eurgh!), the atmosphere and adrenaline shook our hangovers away before long and there were shrieks of excitement as the boat steered away from the shore and the music started pierced the skies. Beers could be bought with tokens, meaning everyone enjoyed a steady stream of drinks to see us through the afternoon, yet the main focus for the selection of people aboard was the amazing sounds blaring from the DJs set, including an awesome number on the Sax from Manchester’s resident DJ Mike Pickering.

I don’t know what Hideout’s plans are for 2012, but I would bet that it never intended this year to keep itself as hush hush as its name implied, tucked away in its Croatian niche. If anything, it did nothing but contradict its persona, as no festival could have made more noise and drawn so much attention to itself as Hideout did, when it shook the isle of Pag from beach to balcony and left us on the other side in a state of exhausted awe.

If it is game on for next year, get in there fast, because Exit, Benicassim, Sound Wave and Sonar have met their match with this gem. Just don’t play Bruno Mars at full volume on a beach of Seth Troxler fans…we learn something new every year.

Finding Hideout…

You can check out the Hideout website.

They are also very friendly, not only do they tweet you back like your Mums are best mates, but they hold regular Facebook and Twitter competitions offering VIP upgrades, free tickets and other magical treats

Hideout on Facebook

Hideout on Twitter

For more information about Novalja visit the Novalja website.

*Earlybird, standard price £89

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Forming as a five piece in 2009, this energetic group of lads have since quickly and by no means quietly established themselves on the gigging scene. Hitting up the UK with their headline tour last summer, they played 45 gigs in 3 months. A year on and No Lights at Lockdown have already featured on BBC Radio 1 and more recently BBC Radio Wales, where they played live on Bethan Elfyn’s esteemed show BBC Introducing.

The band confidently relished the opportunity to perform live on the show renowned for seeking out and showcasing the crème de la crème of unsigned talent and their rendition was very well received. Elfyn has since shown her continued support for the lads, regularly playing their tracks to the masses.

After working in the recording studio this July, the group have now released their first EP, Mark Set Go, which boasts a unique, potent blend of rock and pop, and there are some outstanding highlights in amongst the 6 designated tracks.

Mark Set Go

Lost in the Background introduces the EP and is in essence the establishing shot for the remainder of the collection. A fast paced track with an eye of the tiger kind of vigour, heavy on the percussion and strong on the vocals, it’s the kind of tune you’d use to illustrate success, so much drive and determination does it effuse. Instrumentally dexterous and vocally strong, motivational it is, dreary it is not. With a punk rock energy sustained throughout the track, this song would kick a live performance off fantastically, as it engages and doesn’t allow any room for the listener to escape the fizzling energy of the group. And you wouldn’t want to – you just want to jump in there with them.

Coming Back Around is just as vivacious; launching straight into the vocals, it engages the listener and volunteers a catchy chorus that gives the song a more pop like tone than some of the other tracks. The backing vocals are pleasantly delivered almost as an antiphonic chant that makes you want to bellow along with them. The instrumentals take a bit of a back seat about 2 minutes in and the vocals take centre stage for a short moment, adding a bit of the unexpected to this track and once again keeping the listener on their toes.

Exit Stage Left is number 3 on the record but, for me, No.1 of the album. This captivating tune offers the same fast-paced, punk sound that threads the collection together. The lead singer, Chris Edge, does justice to his surname and demonstrates an impressive vocal range in the opening few chords, successfully reaching high and edgy. The chorus is almost anthemic and unlike most of the other tracks, this song has a good 30 seconds of instrumental introduction before launching into the vocals, an opportunity for the band to showcase their adept instrumental framework.

Mark Set Go – the album’s namesake – finishes the collection off with a bang, and holds it’s own as the characterisation of the entire EP. Rich Newsome on the drums demonstrates captivating percussion in this track with his dexterity and evident enthusiasm. Thematically a song about striving forward and reaching high, the track is both lyrically and acoustically motivational. With the same stage shaking tempo heard throughout the album Mark Set Go is vivacious, determined and fun – a clear indication that the boys have poured the essence of themselves into this cracking collection.

Overall, Mark Set Go strikes a wonderfully edgy chord for a debut, bouncing between metal, rock and punky pop, yet with a verve that is rarely seen in a band so recently established. Profound on the percussion, this EP is turbo charged and the vigorous instrumental component is matched with equally energetic vocals, without being uncomfortable to listen to. This lot already know their essence, and with this tidy collection the band put themselves on the musical map with a unique and inerasable stamp.

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He’s got 3 solo albums behind him, has a new EP on the way, is soon to kick-off another UK tour and plans to be back in the studio before you can say ‘2011’.

He’s got 56,441 “likes” on Facebook, has had absolutely no help from Simon Cowell and is not afraid to say “f*** you!”

So what makes this folky punk-rock singer songwriter and guitar player from Winchester tick? From Cowell to Christmas carols, I cover the basics (and more) of Frank Turner.

You’re currently supporting punk rock band Social Distortion in America – how is it going and how is it different to when you tour solo over here?

We’re the opening act, which is a challenge – not necessarily in a bad way. I have to work hard to make people pay attention, but if I succeed it’s very rewarding. I grew up listening to Social Distortion, and I’m old friends with Lucero, the other band on tour, so it’s a blast being out here. That said, I’m looking forward to the UK tour. A lot!

Your punk/folk rock musical style and political lyrics have often left you compared to Billy Bragg. If you could select someone for yourself to be compared to, who would it be?

Uh, I guess my three guiding lights in life are Henry Rollins, Bruce Springsteen and Loudon Wainwright III. I’m not sure how much I want to be compared to anyone though; I’d like to stand on my own.

Who do you admire of your contemporaries?

There are many people. Chuck Ragan, Tim Barry, Chris TT, Ben Marwoo, Emily Baker, I could go on….

I recently read of you, “his tunes divide the world into Us and Them, (i.e. politicians and fat cats); his advice to Them is simply, as in Sons of Liberty, ‘go f**k yourself.’”

Do you think this is a reasonable summation of what you’re saying to the world in your songs? And if not, how would you put this epitaph straight?

Uh, maybe. I do like to think of what I do as folk music in the literal sense, music for everyone. But there are people in this world who need to be told to get f**ked…Namely those who would impose on our freedom in any way, in my opinion. I’d like as many as people as possible to be in the ‘Us’ pile I guess.

Do you ever think the strength of the political voice in your songs could alienate your listeners who listen purely for the music?

Possibly, though I’d point out I don’t sing about politics all that often, and when I do a lot of people misinterpret my views, ha! But then I have strong opinions and I have a platform to share them from, so I will use it from time to time. My primary audience is myself when I make music (anything else would be dishonest), so I don’t think too much about whether or not I’m alienating anyone, I just try to make good songs.

Frank Turner : XFM radio, London

You don’t seem to be short of an opinion, but what really bothers you apparently is Simon Cowell’s dodgy hair – is it inappropriate to ask if you will write a song about SiCo’s hair? I would buy it! And then use it to audition on the X Factor…

Hahaha! OK, it’s a plan. (Watch this space)

It’s already 5 years since your group Million Dead disbanded – how has your music changed in this time?

It’s changed a lot. I’ve learned a lot about songcraft I think.

Do you miss being the front man of a punk band?

There are days when I miss the physicality of it, but overall I’m happy with what I’m doing right now.

What motivates your song-writing and performance – the urge to sing or a need to express feelings about the world and politics?

I kind of find it hard to answer this question, because I’ve been doing this for so long, it’s just kind of second nature to me to write, play and so on. It’s basically who I am. Sorry, lame answer.

On your Twitter account you describe yourself as a “skinny, half-arsed country singer” – do you stand by that summation?

Ha ha, yeah sure!

Your career to date suggests you’re anything other than ‘half-arsed’ – what has been the one thing that gets you out of bed and standing in front of your audiences when all you want to do is have a pint?

The memory of the last full time job I had before I was lucky enough to jack it in. I was doing telesales, selling phones over the phone…It was horrible and retarded, and I’m thankful every day that I don’t have to do that any more.

You were the last person ever to perform on Steve Lamacq’s influential Radio 1 show Lamacq Live – do you think that has been significant to your success, as your name would have stuck in people’s minds?

Uh yeah I suppose, I’ve not really thought of it in those terms before. Steve has been a great supporter and friend for a long time now.

Do you want to have mainstream success?

I wouldn’t say no. But then I wouldn’t alter what I do to get it. So who knows.

I once saw you live at a fairly small venue in Sheffield and it was vibrant, but you’ve played massive events like Glastonbury, Reading and Leeds amongst other big festivals – do you prefer these huge crowds or the ones where the person at the back of the room is still only a few feet away from you?

I don’t have hard and fast rules about what type of shows I like to play. Good shows are about atmosphere and energy, and you can get that with shows with five people at them sometimes.

You recently released your record Poetry of the Deed, making that your 3rd solo album in 5 years of going it alone – that’s a lot of work Frank! Are you tired?

On occasion, depends how late I stayed out last night, haha! I also did a record of rarities, I have a new EP on the way, and I’ll be in the studio in January for the next record. And I’m working on a book. I like to stay busy!

It’s Christmas soon. What is your favourite carol to sing?

O Come Emmanuel. I like it because it’s actually a traditional folk tune, and very haunting to boot.

Frank kicks off his UK tour on Wednesday 1st of December at The Lemon Tree in Aberdeen. For more information or tickets visit frank-turner.com

You can also Follow Frank on Twitter or you can support Frank on Facebook or you can read his latest news and stories on Frank’s Blog

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A guitar playing vocalist from London, Mark Butcher recorded his debut album Songs from the Sun House in 2008 and released it earlier this year. The album stands out as one which someone – in this case it’s capable author – has poured a fountain of heart, soul and faith into, and not without merit. This captivating debut album consists of 12 tracks, each as considered and earnest as the last, which touch on all four corners of emotion and everything in between.

What struck me when the first few bars of the album’s opening song Put Some Soul into It sprung into life was that Mark really does put some soul into it. The jazzy saxophone sounds that kick off the song introduce you to the general verve of the entire album and linger for several bars, soon to be accompanied by the vivacity of Mark’s smooth, confident and slightly breathy voice. The vocals are interrupted by sporadic saxophone solos from instrumentalist Chris White, which compliment the song perfectly and give the track its essence. The rhythmic song develops into a medium-tempo, layered, jazz number and a choir eventually supplements the chorus giving the already rich sound even more strength and depth.

Though the heartfelt jazz and soul sound remains throughout the album, the jaunty songs are complimented by more soulful, melancholy tracks like Were you Alone Last Night. This intense, slow song boasts some beautiful instrumentals that are as expressive as the vocals, which speak of heartache and loneliness. Despite the sad plight of this song, it remains soothing as the instrumentals roll along side each other and work themselves into an angsty, yet consoling, current.

Photograph By Andy Barter

Number 7 on the album is for me a stand-out track – it’s a reprise in which percussionist and programmer Matt Taylor moves onto the Bass, something that seems to add a different spice to the general format of the tracks. The enforced bass line allows the song to take an ever so slightly different quality. With most of the start of the song consisting of a slow and tinkling movement on the keyboard, as the vocals illustrate the melody the bass line becomes a little stronger and a slight soft rock guitar sound filter through to give this track a beautiful little zing.

Mark’s chosen closing track Nobody’s Fool is an encouraging and astute song that is less angsty than some of its preceding tracks, but still pours out of the very essence of its author and composer. The instrumental layers in this finale are elegant and gentle, less jazzy than some of the other songs on the album but instead a beautiful flowing melody rolls alongside flowing vocals. The slow, delicacy of Nobody’s Fool gives the intricate compilation a lovely soft and fresh value to finish on.

The intricacy amongst the tones of the various songs juxtaposed with the consistency of Mark’s soulful composition and unwavering vocals make this album an interesting sound to dip into, as it encourages an ardent listener, whilst somehow remaining an easy-listener, and keeps you peacefully absorbed.

From Mark Butcher’s music I didn’t know what to expect in terms of the tone and genre his work would fall into, and it was a discovery I looked forward to making when his CD landed on my doorstep last week. It was an idle Saturday afternoon when I did eventually listen to Songs from the Sun House and it couldn’t have been a more fitting time. The chilled out, jazzy and soulful melodies underneath soothing lyrics were the perfect illustration to the mellow mood of a weekend, and I was quite happy to let the restful music fill my house for the rest of the album. On repeat. Four times.

This is a highly impressive, lyrically considered and musically accomplished album, in which 11 out of the 12 songs were written by Mark himself. This is something which comes across in the way the vocals, instrumentals and overall composition match perfectly the essence and semantic underlay of the collection.

For a preview of Songs From The Sun House and a list of Mark Butcher’s future shows visit his Official Myspace.

July of this year saw the release of his first full-length EP, CTLG, which boasts 21 songs, all of complex musical art. Of which the peaceful, smoothly composed harmonies are nothing if not wonderfully blissful, ideal for clearing your mind and floating away on a little cloud of sound.

The elegant combination of literally natural and earthy sounds, under electronic instrumentals, forms a soothing and emotive quality that is something like an amplified, wordless lullaby. A lullaby that conjures up beautiful scenes in your mind – listening to one of these tracks is like looking at a landscape painting and throwing yourself right into the middle of it.

The inspiration this talented young creator takes from nature isn’t just expressed in the song titles; it floods through every note, every pulse and every second of his compositions. As a collective, the album is really very strong and offers a great deal to lovers of atmospheric and emotive music, but also as individuals each song brings a different element to the track, all poignant in their own way.

One of the more compelling tracks on the album, Storms Brewing, hears crashing waves behind a beautiful orchestra that falls easily from note to note – a blend that leaves you feeling like you’re in the middle of the sea, with soft waves crashing all around.

Surgery Lights is faster, more urgent with terse drum beats and an intense feel. This composition feels passionate, yet peaceful, like watching a storm from the safety of a window. Though different, this one is equally as potent as the Storms Brewing and still with that same gentle, tranquil sentiment that laces the whole album.

Snow Blind is something quite different again, darker, and edgier; with an almost dirty grind it is a brilliantly electric piece of work with which JC skilfully punctuates the generally soothing stream of this album. With layer upon layer of rhythms, beats and diverse sounds it is impossible not to feel energised by this heady symphony. It is emotionally electric, perfectly composed; ultimately a charge of reverberation and pulsating layers that for me make this the stand-out track.

As well as making for the ultimate ambience album, the CTLG collection sees itself comfortably reaching for the ‘soundtracks’ bar and JC’s success in this field is already testament to this. His best soundtrack masterpieces were recently displayed at the Cannes Film Festival, including his debut release The Lost EP. It’s little wonder JC was one of the 10 finalists out of the hundreds to enter in the much coveted Tate Tracks competition, which was judged by musical legends like Basement Jaxx.

Whatever your daydream, wherever you want to be, CTLG takes you there. JC Harnell should accompany every drive through the mountains, illustrate every mood of your day and fill every room on a lazy Sunday.

You can stream JC Harnell’s full album at JC’s myspace page — I strongly suggest you do!

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Encompassing Blues, Spanish pop, Folk, Trip-hop, Indie and Acoustic to name but a few, the compilation leaves no colour of the musical spectrum unpainted and there is a track to tease the taste of every listener.

Leading the auditory spectacle is Eartha by Pandora’s Box, a quirky, folk focused four-piece from London, fronted by lead singer Chloe Tingey. Eartha opens with a delicate solo from Chloe, supported by light percussion, before the song tinkles into an effervescent, jaunty and folk-style melody. Chloe’s voice sails along the high notes and has a nostalgic, chirruping sound which compliments the folk-like tone of the percussion. The song is a paradoxical mixture of up-beat and melancholy, as it accumulates energy in a hand-clapping manner and slows back down into poignant tones. Very British, very catchy and a sweet opener to the compilation, Pandora’s Box offer an easy-listening and refreshingly authentic sound.

In keeping with the reflective tones of Pandora’s Box, Inspiration-Ispiratio’s second track moves into the rich, jazzy and largely instrumental harmonies of Bluebird & Skoko, a unique duo form Chicago who juxtapose Pop, Rock and Blues within their energised collaboration. The boy-girl twosome, R.R Bluebird and Eleanor Skoko, demonstrate their vocal and instrumental panache in a slow Chicago Blues piece called Girls Minds are Tricky. The grimy rock ‘n’ roll force of the track is more downbeat than Eartha, as the jazzy tones of the instruments create a brooding track, taken from their album Take Your Mojo, Sista. Elena describes the ‘Mojo’ as the essence of their music and this transpires in the intense way in which Bluebird & Skoko’s spectrum of sounds fuse together in Girls Minds are Tricky.

The core of Inspiration-Ispiratio’s musical assemble moves through an exciting procession of British-Spanish alternative pop, with Spanish duo Anima Pop, a dark and menacing track by trip-hop band Jacdaw, melodic Indie by Ozone Baby and finishes up with The Iain Luke Experience’s pop-rock tune You Made Me Smile, posing as the penultimate track.

Having taken the listener through such a diverse exploration of songs and musical genres, Inspiration-ispiratio concludes with the easy-listening yet grungy acoustics of self-taught young British soloist Jamie Andrew. Acoustic guitar in hand and soul laid bare, Jamie creates an intense sound through which he channels his already rich life experiences. This well placed closing track, Angel Friends, demonstrates the depth from which Jamie’s lyrics emerge and epitomises the ethereal theme that runs through much of his music. Jamie’s composition is potent, at times poignant and highly intoxicating as the soft, timeless sound that could be likened to Coldplay, James Morrison and Jeff Buckley, takes its grip on the listener.

This stimulating compilation comes illustrated with a downloadable e-booklet. Like that of the booklet found inside a traditional CD, the e-booklet offers an insight into the foundation and essence of each artist and allows the contributing musicians to reach their listeners on a more tangible level. The unique booklet provides the lyrics for each song, as well as a unique biography and contact information for each artist. This is a rare treat for downloaded music and with it New Beats Media really bring the E-CD to life for the listener.

Downloadable for free from New Beats Media. Inspiration-Ispiratio celebrates the launch of the exciting new website and offers a unique opportunity to access music that you may otherwise never get to hear.

Energetic is the main word I would use to describe the sound of Ozone Baby, a four piece lucratively led by multi-instrumentalist and lead singer Amanda Thompson.

Girl with Cassettes, featuring Todd Fancey of The New Pornographers, jumps straight into a blend of punchy percussion, jazzy string sounds and a fast-paced melody. This track literally pops into life. The opening lyrics “it’s gone to my head, it’s gone to my feet” are representative of exactly the transition the sound makes into your very being, as the vibrations leave you unable to but jerk around (hopefully with some decorum). Oh yes, this one’s a bit of a toe-tapper…

The smooth voice of Amanda is confident, rich and has a level of prowess over the backing music, which draws on an intense assortment of guitar and percussion, layer upon layer of jittery, buoyant sound.

About half way in, the vocals take a break and a richer, rockier instrumental sound comes through. You can actually feel the band rock out into their Led Zeppelin selves in this part of the track. The intensity is such that you can see the gang as youths, aged 10, air guitaring with a pillow, faces contorted into utter concentration and enthusiasm.

This song is a sandwich of classic rock, encased in layers of modern pop and indie. The heart of the tune demonstrates the recurring, emblematic rock that laces their music style and merits the Led Zeppelin allusion.

The rock premise really permeates mid-song and with it brings an undeniable nostalgia. This reminiscence is all the more enhanced by the repetition of the word “cassettes”, which proceeds in the latter half of the song. The lyrical and acoustic collaboration here transpires as a musical trip through time, from the ‘70s Mods & Rockers, through to the world of cassette tapes and 12 inch records, on up to the poptastic ‘90s. The represented era is far enough removed from today’s music scene that it feels wonderfully wistful and refreshing amongst currently dominating styles.

The lengthened syllables and drawn out “yeah”s alternate with perkier “do-do-do-do’s” to formulate the pop-style chorus. In front of the lively acoustic backdrop, these traits make Girl With Cassettes a drive along, sing along song. On the road, this track will want your foot on the accelerator; on the pavement it may have you throwing some untimely shapes.

Imagine Top of The Pops in tight jeans and Ozzy Osbourne shades- this is Ozone Baby’s sound in Girl with Cassettes. As the music blares from my pleasantly startled pink Dell, I can almost see the shell-suits and white plimsolls jumping around the TOTP stage. Forget cassette tapes, this girls got a full on ghetto blaster over her shoulder.

The song ends as abruptly as it begins, following a string of the fun afore mentioned “do-do-do’s” and a final cool guitar-led 10 or 20 seconds. You can almost see the guitarists hand drop down in the closing vigorous strum of the strings as the sound drops to a sudden halt and we can finally rest our weary feet.

Whatever your musical taste, this track is so effervescent and inoffensive, that you will want to make sure you have charged your batteries before you listen to it. For you feel it would reprimand a dull audience, perhaps even make you do sit-ups. Get ready to tap those toes…

Oh Diana Vickers. One of the many Marmites of the music world. Some of you may be able to hark back to the X Factor days, a competition in which the self-named “The Vickerage” ranked 4th in the final. Wooing some with her youthful, bare-footed, messy-blonde-haired, rasping-voiced naivety and sending others running for the hills in the wake of the all of the above– Diana Vickers was no wall flower. I myself remember spending many a minute defending the “quirky”, “innocent” and “endearing” young songstress, who for her tiny frame had a powerful voice that not even the haters could deny was fairly incredible, and is probably what recently won her the role of Little Voice in the West End.

Leadmill, Sheffield, isn’t the biggest of venues, but the 4 walls were filled, mainly with admiring young school girls who loved her on X factor, adoring young school boys who had “never heard of her until recently but reckon she’s well fit” (I actually overheard this), the occasional slightly worrying middle-aged man and then the likes of me and the other young professionals wondering what they’d let themselves in for. Hot, a little cramped and full of staggering school kids, this wasn’t my preferred scene, but I was determined to stay positive for Diana Vickers Night.

The night lifted when support act Max Tuohy descended on to the stage, a guitar playing teen who seemed to be right in the middle of that crucial hurdle between absolute stage prowess and sheer nerves. Once he’s overcome that barrier, he should be great, as he brought a whole new style to the table. A cross between Paolo Nutini’s reflective crooning and Michael Buble’s upbeat swing sounds, Max was endearing, fun and although he needed some fine-tuning, definitely had acres of talent. Apart from the occasional mishap with guitar strings and the like, it was a really enjoyable performance by a charismatic 18 year old.

The interval between the support and Diana was a frustrated one. It may have been particularly so by this point as I couldn’t move for drunken school kids, we’d been standing for about an hour and a half with only a brief interlude from Max and the general mood was a little impatient, yet still expectant for Diana’s arrival. And then, finally, it came! And it was like pouring barrels of sweet and sour sauce you never ordered over an evening of boiled white rice. You know? I’ll explain.

Tomodo Photography

Within less than 30 seconds of Diana hitting the stage, cheering herself on and announcing she had been “soooooooooooooo excited” about meeting us, my company for the evening had concluded “oh I don’t like her”. Big words for payer of tickets and organiser of outing. But I knew what he meant, for though she sounded and looked stunning in her mini-dress, very sexy hair and heels– oh yes, the famously poorly shod youth seems to have finally discovered the benefits of a shoe– there was something like bitter lemon in my Dianamopolitan.

Bounding on to the stage with a whole lot of enthusiasm and excess energy it was almost too much, as there was something in her good spirits that seemed a little pretentious and insincere. However despite first impressions and her general demeanour being a bit too affected, Diana’s vocals and stage confidence were unquestionably outstanding. Like most celebrities these days, in real life the star is only a tiny, but her voice is undeniably huge. It has a very distinct edge and past comments have described it as akin to the likes of The Cranberries, with all its breathy huskiness, though others have found it contrived and irritating. I think “dying cat” has been used more than once, but I do believe this is unfair. For all her irritations, the girl can most definitely sing. Probably even better if she wasn’t trying so hard to be cool and different.

I actually really enjoyed little Diana’s vocal performance, as she belted out some surprisingly brilliant pop from her debut album Songs from the Tainted Cherry Tree, currently Number 1 in the UK album chart. Nearly every song on the album has potential to top the charts– no mean feat for a beginner like Diana and this is testament to her genuine talent. Her first track of the night, and for me one of her stand-out songs was The Boy Who Murdered Love, which has a whole lot of oomph and was well-placed as the opener. It showed off her vocal range and power to captivate, and introduced us to the general theme of her songs– which unsurprisingly focus on love and heartache. As with most of her songs, this one actually sounded much better live, as it was largely fuelled by Diana’s stage presence and the entertainment factor, which was a rare and pleasant surprise.

She followed with a powerful selection of tracks, all of them of the high calibre she set for herself with the opener, including Remake Me and You and of course her hit single Once. Both these tracks are very similar, loads of vivacity, power and room for some serious stage stomping, sexy hair shaking and yelping from Ms. Vickers. Remake Me and You goes at about 100mph and is catchy as a netball, but the title is misleading, for she actually sings about remaking ‘may’ and ‘hugh’. Lyrically and thematically the songs are quite beyond her years, written by pop pros like Narina Pallet. Though our Di’ somehow pulls them off, especially in terms of the heart-felt performance she gives.

Tomodo Photography

After stopping for some water and telling us to “have a bit of banter” while she did so (cheers Di’, we’ll try), she then announced that she was going to shake things up a bit. Which, damn her, she did. With another striking number called My Hip. More light-hearted, fun and playful than the other songs we’d heard so far, this was a dance along song that added a bit of a twist to her act, which had so far had pretty much one punchy flavour– Apple Sourz. She firmly proved her true musical talent with My Hip, playing a trumpet in between lyrics, and the effect was an impressively jazzy one. The girl knows how to work it and she looked great strutting around, trumpet in hand, with all the confidence of someone far beyond her years and all the energy of a Yorkshire Terrier…

Overall, Diana Vickers probably did what she set out to do, which was prove her often questioned flair and please the adoring young fans with her pop-centric manoeuvres. As much as I cannot fault her musically and appreciate her ability to entertain, I just wasn’t impressed with her overall in terms of her general persona. Especially when she started nonchalantly name-dropping, mentioning her casual phone calls from Snow Patrol’s lead singer “Gazza”, who she’s now good mates with, by the way. I may sound harsh, and I admit it was probably a bit tongue-in-cheek, but the name dropping still happened and it seemed a shame she had to refer to her celebrity, as it detracts from her talent. For the most part, she seemed to be talking down to us. Fair enough she was elevated on a stage, but personally I think that’s no excuse… and though she kept her shoes oo for most of the show, she couldn’t resist kicking them off for the encore. I guess old habits Di’ hard.

***As I type this I can hear her being interviewed by Fearne Cotton at Radio 1’s Big Weekend and she’s not helping herself, “I’m so excited…its amaaaazing,…I’m soooo ready [to perform] right now…ooo look at my fans, such eager beavers…all the celebrity singers are here…oh Fearn you’re like my long lost friend!” Shhh, Diana, Shhh!

It’s really not often that I admit to having been a bad judge of character, but I owe my friends an apology for the many moments spent defying anyone to consider Diana Vickers anything less than adorable. “The Vickerage” is cool, fun, sexy, slightly off-her-head (already wearing that damaged rock n roll aroma that she really shouldn’t be), has a stunning natural voice and parlour of talent to compete with music’s greatest entertainers….but sweet? Sincere? Innocent? I didn’t get that from her. And I am sorry to conclude that the Diana we knew and loved on our TV screens back in 2008 does not exist. I will listen to her music, I wouldn’t say no to seeing her live again and I will continue to praise her distinctive voice and musical endowments, but I will no longer be defending her to the “hate” camp in the Diana Vickers marmite mill.

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Micheal Kilbey- lead vocals, guitar & Oboe
Craig Brown- Guitar and Vocals
Adriel Thomas- Bass
Joel McBride- Drum & Vocals

Born from the aftermath of the split up of The Franks– Q Magazine’s 2008 New Talent finalists– Harrison Hope, a four-piece band from North London, are led by their passionate, persistent and unquestionably talented lead singer/song-writer Michael Kilbey. Michael’s resolute involvement with Harrison Hope, which he affectionately abbreviates to “Hope”, is potent and his intense resolve for the band and its future has founded the basis of the group’s collective musical potential. The group’s already compelling history adds acute depth to the heartbreakingly poignant and brilliantly indulgent sounds created by this brilliant quartet.

In The Troubadour, in West London last Friday, I enjoyed an acoustic version of the band, as Michael was representing them supported only by Craig on guitar and vocals. Though this meant I didn’t get to hear the full scale powerful sound of Harrison Hope live, it did allow me to appreciate Michael’s vocal range and the acoustic talents of the band in their original state. I suspected the lack of percussion would be an indulgence rather than a loss, and Michael & Craig didn’t disappoint, but rather surpassed my hopes.

The duo began the set with Mr Fall from the Sky, which consisted of an engaging introduction of lyrical repetition that swiftly launched into a full-on, buoyant and punctuated sound. The upbeat percussion throughout the track was intermittently broken up by moments of slower melodies, and though the lyrical foreground of the tune was somewhat solemn, the full flight of the sad song contrarily manifested itself in an upbeat manner. Perhaps one of the more “poppy” songs played on the night; Mr Fall from the Sky was everything the boys needed to capture initial interest amongst the audience, as the fast pace and lyrical reverberation left no room for distraction, but made for a very engaging track. Michael’s strong, anthemic voice demonstrated a lot of scope and comprehensively blanketed the room with every note of this first song.

Throughout the gig, the boys made compelling viewing and Michael in particular immersed himself in his music– the “entertainment” aspect of the performance worked out as a natural bi-product of his unyielding passion and affection for all he was singing for. Songs like So much Love In This Room added a more rocky edge to the set and kept the performance boisterous, while the penultimate performance of I Told You I Was Crazy Sweetheart- a slow, sad, balletic number– alleviated the intense energy of the preceding tracks, in time for the finale. Now available to buy on iTunes, the morose I Told You I was Crazy Sweetheart is sung with a poignant, heartbreaking ardour and Michael’s southern accent filtrating unaffectedly into the song complimented the honest and meek tone of the song.

The band surpassed themselves with each track, but in my opinion saved the best until last. Finishing up with a quirky number called The Wild; the song began in a nostalgic, earthy style and insinuated melancholy, similar to the distinctively baroque sound of groups like The Fleet Foxes. Moving into deeper melodies, beneath lyrics sang in a syrupy howl, the song became heavier in sound; the profound percussion and reverberating bass encouraged the semantic aspect of the song, but the vocals did not lose their shape, as Michael revealed again his extensive vocal range. The melancholic overtones of the lyrics and crescendos in his voice combined to generate a sense of crying, reflective of the heart-rending love theme.

Harrison Hope show profuse flair in their ability to generate poignant, yet charming sounds and they have already put together a prominent portfolio of emotionally charged tunes. The band’s energetic combination of pensive and soulful tracks fall somewhere between melodic rock and authentic indie, and create a sound that ultimately makes for fervent and relatable listening. Their collection has already proven popular amongst the crowds who have been lucky enough to stumble across them, having earned instant airplay on BBC radio as well as one-off support slots with The Futureheads & Ladyhawke. Yet Harrison Hope’s musical command merits much wider appreciation and this is something they seem destined to achieve.

Stepping into Redhouse on Tuesday 20th October, the mood very much matched the location– inconspicuous, quirky and ever so slightly off-the-beaten-track, the pub was an ideal size for the trio to launch their lyrical loving onto the energized crowd. Bar at the back, stage at the front, the dimly lit space in between made for a cosy space in which the audience could get comfortable. Another band was playing just before hand, which meant I could check in with Brett as to how the boys were feeling about their imminent performance. ”Nervous” was the general consensus, though I could see their excitement as they mingled with the people and prepared themselves to WOW! When their turn came around Brett, Andy and Olly confidently took to the stage and geared themselves up with their various instruments, alongside plenty of supportive audience acclamation.

As they strummed into their first song, my first thought was one of relief, because even before they had reached the first chorus of the first tune, what they were sounding out was definitely worth hearing. Primarily upbeat, the two acoustics worked in superb sync to produce a buoyant yet edgy melody that seemed to form the frame of the sound, evermore enhanced by Olly on the Bass. Soulful, acoustic-rock immersed the room, though laced with a unique edge of folk-rock that was largely complimented by Andy’s poignantly rustic voice.

As with the band name, the boys are yet to attribute official song titles to their work, as they are waiting until they have a stronger sense of each song before they start labelling their sound. Given this, I can only describe to you the essential resonance the band brought to Redhouse, as the mysterious anonymity of the boys prevails (they certainly know how to obtain interest…I already can’t wait to find out more!) One song that did have a name, though, was a piece had written especially upon my (semi-serious) request…courteous as well as talented. After a brief dedication to me (I wasn’t complaining), they launched into Dig for Fire, which was lyrically deep and musically profound, comprised of a catchy chorus and captivating reverberation. I am evidently biased, but of all their songs I predominantly can’t wait for Dig For Fire to become available…

The guys put on a brilliant performance– each tune brought something slightly different and their refined unique style prevailed throughout each of their songs. Though they believe themselves to be a “work in progress”, and they are tentatively taking steps towards their goal, their performance demonstrated such skill in their composition and composure in their ability as entertainers that I can assure the boys are further on in their mission than they think. Given that this was Olly’s first live performance with the other 2 boys, he really held his own and his work on the Bass added a twist of powerful substance to the acoustic grounding laid out by Andy and Brett. Several of the songs began with amazing little solo introductions from Brett on guitar, which showed off his notable skill on the strings– though he made it look easy, the passion and effort in his performance was also evident. The unique intro captured the audiences’ attention and the rest of said song did not disappoint, but maintained the high standard set by the guitar solo.

The entire set held my attention (even when they weren’t dedicating things to me) which is a testament to their ability to captivate the crowd, as well as sound out some brilliant material. For a 3rd gig, Andy, Brett and Olly demonstrated style, plenty of talent, exciting composition and sound professionalism– I just can’t wait until they really come into themselves as a band and start naming some tunes…

I am obviously not the only one impressed by their skill and potential, as the boys have since been asked by the relevant label to support a signed band called The Wickets at Redhouse on 21st November. This is a very encouraging step for the boys, and has inspired them to improve their standard even more. Their performance on the 21st is likely to surpass all previous performances and is definitely worth checking out. If you didn’t make it this month, get down to Redhouse, Sheffield on November 21st to see them do their first live gig as a supporting band!!

I can already see how the boys are progressing and they are demonstrating more potential with each week that goes by…by Christmas I am hoping to see the band in their full quartet-ed glory, rocking out with the drummer (Todd) completing the final piece of their puzzle, producing even more compelling music than before! But until then, stay Tuned In…

I am excited! Why? Because rumour has it that four especially talented and high-spirited, Sheffield-based gents are setting out to bring about a musical collaboration that will finally take their mutual musical dreams to a place not far from reality. The talent has been sought, the song-writing has started and this yet to be named band are beginning to turn the wheels down the exciting road of jamming, recording, performing and making a name for themselves locally and further a-field.

In an interesting new feature, I have decided to follow them through every step of their journey, to watch them as they progress and to report back to you in a documentary style story of a genuine, authentic, talented band in the making. I am going to bring to you the exciting tales of the realities behind music making and all it brings about. I will be catching up with the guys regularly and making sure that every mini musical detail is captured in a story that will let you tune in every step of the way.

Last week I met up with two of the boys (Brett and Andy) to find out all about the Art of Band Making and to set a scene upon this as yet blank musical canvas. I found these guys so enjoyable and relaxed that conversation flowed without much need for a formal interview. Here is what I found out…

WHO?

Meet Brett (Guitar), Andy( Guitar & Vocals), Olly (Bass) and Todd (Drums)

The first thing about this band is that they’re currently anonymous– not out of apathy or because they aren’t full of jazzy ideas, but because they want to do it right. They explained that they hadn’t yet met collectively and a band name is something that will be formulated when they do.

Brett: “Like at the moment it’s me and Andy putting together the song writing and acoustic side of things and we can’t really gauge how the bands going to be until we have Todd and Olly back (drum and Bass)…we want the name to really have a lot of meaning with regards to the whole band and the collective style… so we are still waiting. The same applies to our songs, although we have quite a collection we aren’t naming any of them until we have found our niche!”

Andy: I did think that mine and Brett’s names put together is “Brandy”.…

Hannah: NO.
[Laughter– followed by a quick agreement to come up with something else!]

H: how do you all know each other then?

B: Todd is my brother and Olly is my friend, though Todd introduced me to Olly as they were on the same course together at Uni. Both of them temporarily left Sheffield, so when I was left writing songs by myself, I wanted to find a singer…I found Andy online.

H: Musicalmatch.com?

Both: [laugh] Erm, not really.…!!

H: don’t worry, I won’t tell people about that! So you found Andy online, Brett, how did you know you were compatible…musically?

B: [Laughs] well we just met up, got on, have a similar taste in music and it worked when we started jamming together. Knowing the other 2 band members, I knew he would fit in.

With experience as a lyricist Andy contributes plenty to Brett’s already impressive song writing. All the boys have been playing their various instruments for 10 years or more and have all always had a zest for music, but the impending collaboration of their collective musical talent means now is the time to shine and they are shaping up to be Sheffield’s best kept secret.

WHAT?

With a name yet to be assigned, fresh musical meat ready to be ripped into and songs still to be titled, the musical genre of this band remained a bit of a mystery to me…so I got my grill on and put them in the hot seat. Where do they see themselves fit into contemporary music?

Essentially placing themselves somewhere between acoustic and modern rock, the boys were eager to establish that they didn’t want to be put in a box. Yet. The interesting thing about them is that they are keen to let their creative calling take them to whatever genre it may and any sort of labelling somewhat undermined what their band is all about. The excitement and optimistic recognition of their potential floods from these boys, as they tell me all about their plans to almost surprise themselves with their style, when it does eventually refine itself.
So I grilled them all the more…

H: If you had to compare yourselves to another current band/artist, who would you say your current style is most similar to?

B: [looking slightly scared] I would say Thrice, 30 seconds to Mars…

A: Foo-fighters!

H: what sort of music do you like personally?

B: RHCP, KOL, Thrice, Brand New, Mewithoutyou, John Frusciante, Incubus, Biffy Clyro…

A: Metallica, Damien Rice, Fightstar, Dashboard Confessional, Death Can For Cutie…

B: Kings of Leon…

The alternative rock premise of the band is clear to hear, but their quirky and attractive reluctance to jump on any genre-based band-wagon is indicative that they are nothing if not unique and fantastically interesting.

WHY?

If there is one thing I admire it is musicians who are in it for the music not the fame, so I am delighted when I hear that these boys are without a shadow of doubt in it for the personal reward and the satisfaction they get from just playing to their friends and family.
“We really appreciate authentic talent and want to be seen in that light ourselves; we want to build up a genuinely really good portfolio of sound that earns us any success we may have”

That is not to say they aren’t ambitious, their plans to do progress are apparent, but ultimately they just want to play and be heard. Which makes them all the more appealing to me, and definitely worth you tuning in to read about. It is this integrity of attitude and enthusiasm of spirit that makes me want to pursue their musical endeavour and inspires my faith that they are ones to watch.

HOW?

The brilliance of, and ultimate motivation for, covering a band in the making is the unbeatable opportunity to hear all about the actual art of music. Speaking to Brett and Andy about their time jamming and song-writing, their undeniable excitement and enthusiasm projects to me an image of what it’s actually like to put a piece of music together from start to finish.

H: Talk me through the music making process– how does it go for you?

A: Well it usually starts with Brett offering me a coke!
[laughter]

B: We usually just sort of sit and start writing…I might have already put together a verse and then Andy gives me his input…or we might literally start from scratch. It just depends really. And then we start jamming and see what works and what doesn’t.

H: So do you actually sit there and say “I think we should say this” “no, I think we should say that”
[Laughter]

A: Yeah sometimes! Though we do tend to agree. Both of us contribute both music and lyrics and it usually works that I might come up with something Brett hadn’t thought of and vice versa — it’s a really collaborative approach and we bounce ideas of each other all the time”

H: Brett, as you’re sort of the glue of the group, do you call the shots?

A: no definitely not, there’s mutual respect and a balance of input.

B: Yeah like I really value Andy’s input as much as he values mine

H: How long does it take you to write a song?

B: One evening maybe…

A: yeah..ish. Sometimes it might be 20 minutes; sometimes it might take a few days…

H: How do you promote yourselves locally?

B: Well until we have a name we can’t really do too much, we want to wait until we are really ready as band before we start pushing ourselves out there

A: We have got some recording lined up and after that we are going to get some demo’s together very soon, that we can then start pushing out into the public!
The sense of reward and satisfaction that the boys get from seeing their music come together is evident as they excitedly chat to me about the way they work together and create their sound and their plans for their future as a band. Suddenly I am very excited for them and can’t wait to hear how it all comes together.

WHEN?

The band are currently in the stages of writing, collaborating musical flair and bringing things together for their 3rd gig– following their two previous acoustic gigs at Green Room, Sheffield. Both gigs were very successful and gave the boys a taste of the tantalising flavour of live performance. So when can we expect to see this stirring new band come together and start (to quote Brett) ‘the process of turning these acoustic songs into a full sounding, loud, addictive, spine-tingling, relatable sound’ that they can share with us?

H: What sort of progress do you want to see yourselves making as a band over the next few months?

B: we just want to make as much music as possible, I definitely want to feel like and see that we have made progress with regards to what we are producing…

A: yeah we really want to feel like we have given it a good go in the next few months and taken the time to really polish ourselves as a band

B: We are planning on getting some recording done over the next few weeks and at least get some demo’s done– I want 3 or 4 really good songs done by Christmas

H: Is that realistic for you?

Both: definitely!

H: Gig-wise, are you planning further gigs beyond the 20th?

B: Yes definitely, we want to do as much as we much as we can and that means as many gigs as possible!

WHERE?

H: Where would you most like to play in Sheffield?

A: I would love to play Plug. I supported The Gentlemen in my last band (One Hour Drive) when they had their sell-out gig there, and it was unbelievable! I would love to do that as a band in our own right– though supporting was amazing!

B: Leadmill would be a brilliant venue– it is synonymous with Sheffield in a way, like part of the city…and I think it would draw the kind of crowds our music would want.

For now, though, the band can be seen in venues such as Green Room and Redhouse in Sheffield, the next being the gig on Tues 20th October.

Their next and 3rd live gig (aptly named “Our 3rd Gig”) is taking place on Tuesday 20th October at Redhouse in Sheffield from 8pm onwards. I will be going down in anticipation to see what i am confident will be a compelling performance.

ENCORE…

After suggesting some [mainly laughed at] band names, we said our goodbyes and I left really very excited at discovering such enthusiasm and spark in these boys. I expect to see some real authentic and glittery flair emerge in Redhouse on the 20th, so Tune In again next week to find out all about their 3rd gig in all it’s brandly new and freshly talented glory! Better still, come and see them for yourselves at said time and place.

Walking into Cargo, a charming venue in the chic London borough of Shoreditch, everything about the place screamed style, Charlie Winston Style. Small in size yet big in character, the intimacy and flair of the dimly lit bar-restaurant created a friendly atmosphere with a touch of excited suspense. Off-the-beaten-track, stylish and inviting– the acoustic come folk singer couldn’t have chosen a more appropriate spot on which to shower the small, expectant audience with his music and entertain them in an album launch to remember.

The primarily French audience, which Charlie affectionately described as “Franglaise”, is testament to his unbounded success in France. I met one girl who had travelled from Paris alone especially for the gig– she explained that what were costing £10 a ticket here would have been 4 or 5 times that in France. To be able to get so close to the singer was for this Parisian an absolute dream, and she explained that this was the case for many of the French people who attended on the night. The girl regaled me with tales of Charlie Winston inspired fashion trends whisking their way across France, super-marches bursting with his infamous waistcoat & tie get-up (this harks back to my July interview with Charlie, when he described how “Charlie Winston” had become not just a name but a brand), 40,000 deep concerts , women swooning and men admiring. Charlie Winston excitement has well and truly captivated our friends across the Channel, but what kind of impact would this enigmatic musician have on a 200 odd audience in the intimacy of an unsuspecting bar down an obscure street of London?

True to himself, yet atypically of a gig, the novel singer inverted expectations by stepping straight onto the small stage (which cannot have been more than 10cm from the closest audience member– me) all alone and an entire song before the other band members– with this small gesture Charlie met his audience as a man, not just a musician. With a tip of his hat (another Charlie trademark) he greeted us with a big warm and welcoming smile, before opening with a jaunty, fun piece called Gone Gone, from his latest Album Hobo scheduled for release on 26th October. Again atypical of a gig set-up, Mr Winston encouraged audiences to sing the baseline and get wholly involved from the onset. This created an instant bond between entertainer and audience, which you would usually expect towards the end of a set. The response couldn’t have been better. Instantly occupied and cheered by his presence, the audience were prepared for the utterly energetic and passionate performance that followed.

The carnival-like set was intense and boisterous; Charlie’s energy never wavered but gathered momentum. At one point Charlie leaped out into the audience and had a dance with some of the crowd, walking amongst his supporters in yet another humble act of good humour. Supported by the drummer and bassist who found the rich, jaunty baselines, Charlie is primarily complimented by his animated right-hand man on the harmonica, who comes in with tones varying from beatific blues to gritty cries that add unique texture to every song. Seconding with his single In Your Hands, Charlie shows off his personal and musical depth in a song about the struggles of people who come over from India to work and earn money to send back to their families. The moving piece is surprisingly uplifting, though, and this is down to the lively sound and positivity of Charlie’s plight. Showing his personality as well as his talent in the absolute gems of songs such as this one, Charlie and his band create a rich, textured sound that comes together in one sprightly swoop of positivity, emotion and hand-clappy good humour.

When the first notes of Like a Hobo sounded around the room, a ripple of excitement weaved through the French audience. This golden track was No.1 in the French charts for 4 weeks and the upbeat, zealous performance he gave of this song was dazzling. Winston’s soulful and textured voice complimented the meaning of the song perfectly and he raised up his sound right from the bottom of his Charlie Chaplin shoes. Vocal comparisons have been made to David Gray and Antony Hegarty, though Charlie’s voice is more powerful and somehow energetic. He builds to the peaks with such passion that the lyrics seem to almost escape from his own command and roll off the tongue before he has even formulated them. His merriment was contagious and only ever calmed down for the more serene tracks like I love Your Smile and Boxes. The multi-instrumentalist swapped his guitar for the piano for these slower songs that showed another edge to his voice– a lighter, reigned-in version. Though the intense emotion prevails in these softer songs, it is more delicate, gentle and calm.

Even thematically Charlie’s tunes hit the unique bracket, as he deviates into singing about elements of life that are non-stereotypical for an acoustic artiste. In Kick the Bucket he manages to relate his ideas about immortality, though in a skilfully optimistic manner– consolidated by the lyric “this is not a sad song, I don’t mean to bring you down”- as if Mr Winston does anything but up-lift. My Life as a Duck is also testament to his quirky subject matter, as he analogises his life and ponders on…being a duck. The way to visualise Charlie Winston on stage, is to imagine a turbo-charged wind-up toy setting off around the room as it sings, dances, entertains, smiles and sings some more, never slowing down but gathering momentum as it whisks its way around the room, leaving behind an unforgettable beautiful mess. His act is by no means “messy”, quite the opposite, but the overspill of talent is tremendous and it is like watching a waterfall of flair and music flow out of this man because there is just too much to contain. In Charlie’s case, his turbo-charge would be his supreme aptitude and passion. By the end of his set, Charlie was leaping around the stage, his body literally contorting into the shapes and rhythms to which his songs took him.

For the finale, Charlie and his merry band did a funked up version of In Your Hands that had the audience clapping and jigging and stomping and smiling, bringing the boisterous, happy atmosphere of the stage, down and out into the audience, filling the room wall to wall and raising the bar even higher for what had already been an unforgettable performance.

Charlie quietly reigned that night, inadvertently and inevitably attracting attention, though his unaffected manner did not demand it. During the support act– King Charles, a quirky and electrifying bang who’s lead singer’s charisma and passion made up for the apparent lack of amongst the other band members– Charlie stepped quietly into the shadows of the audience to just enjoy the show. With absolutely no self-importance, he watched on the sidelines, neither hiding nor asking to be seen. Modestly shaking the hands of those who noticed him, and with such down-to-earth charisma, the Charlie Winston vibe quickly whispered its way around the room, murmuring to the expectant audience that an over-flow of musical extravaganza was about to erupt…

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Every Step: Chatting to Charlie — Charlie Winston Interview

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Hear Him at : YouTube

Tom has already found firm success as an actor, recently appearing in Tom Hooper’s 2009 film The Damned United, as 1970’s footballer Trevor Cherry. Though this appearance has formed a stage from which he can launch himself further into his performing career, Tom’s passion for song writing and musical performance is none the less for his acting abilities. His acting precedent purely adds merit to his abilities as an entertainer and fuels his power to emote his audience when he sings.

At the blithe young age of 24, you may be impressed by the profound and emotionally charged lyrics sounded out by Tom, who sings about concepts considerably beyond his years. Feeling his way through musical expression, Tom employs just himself and his acoustic guitar, drawing only upon his charming anthology of personal experiences for assistance. Though an album is yet to be compiled, the work so far produced by this gifted Wilmslow lad is of noteworthy quality.

Tom’s stand-out songs, such as Whole Again, Falling Down and Fade Away, assume a value akin to the composition of better-known acoustic artists Joseph Arthur and Ben Harper. To quote Tom’s own account of his style, he says ‘at the risk of sounding like a dating agency advert, I’m very laid back and easy going and in some of my songs I’ve really noticed that coming through’. Lazy Sunday Morning is testament to this as it draws direct comparisons with Jack Johnson, right down to the mellow yet jaunty melody and intricate finger-work sustained throughout the piece. Though comparable to these more established artists, Tom reaches his own unique genre of talent and is by no means clichéd, his unquestionable authenticity is apparent in his music and compelling stage presence.

In a paradoxically soft yet charmingly raucous voice, Tom sings primarily about love, loving and heartache; drawing on his own personal experiences to create sincerely emotive and relatable sounds. Whole Again hears Tom reach the peak of his musical flair, a song in which he finds a level of maturity and creativity in his expression that one might find remarkable for someone so young. The intensity of feeling captured in the lyrics falls happily into rhythm with Tom’s unique voice and the rasping tones that flow out over the relaxed, affecting backdrop of the guitar.

Though there resounds in Tom Ramsbottom a primarily acoustic/folk tone, his quirky and energetic persona leads him into some more light-hearted, upbeat faculties of music that reveal his sanguine demeanour and amiable outlook. One to certainly listen to is Porn, a hilarious little piece of merriment that hears to us a tongue-in-cheek discussion about the concept of porn in contemporary society. Though cheeky, the song is not crude and to see such quirky humour makes Tom even more likeable as an artist and an individual.

Tom doesn’t limit himself to the acoustic game, and has also ventured into electric guitar territory, as well as being a dab hand on the piano. Though he claims to have ‘much to learn about playing [the guitar]’, having played for only 3 years Tom demonstrates truly admirable finger-work. He goes on to say ‘I don’t know what will happen with my music…getting airplay would be…Wow!’
Tom is currently working in the recording studio with the producer of The Doves, New Order and several other big names, so he needn’t be so modest…

Ultimately Tom’s music represents the landscape of the life of a boy in who, beyond his humble and charismatic exterior, can be seen a young man quietly yet determinedly reaching out for more and this ambition can be heard in his concentrated, poignant acoustic sounds.

Whole Again: YouTube

Porn: YouTube

Charlie Winston Interview– 23/07/2009

The first time I saw Charlie Winston live, his open and candidly charming character unveiled to me a great depth in what he had to offer both musically and as an all-round entertainer. Quirky, vibrant, “stylishly styled” and with a raw, authentic talent that is atypical of today’s musical landscape.

Charlie Winston is an acoustic folk singer easing his way tenderly but firmly onto the scene; namely in France, where he currently reigns at No.1 in the Album charts with his album Hobo and rose to Number 1 with his single Like a Hobo. It is only a matter of time before Charlie and his merry manner come sailing onto the scene in the UK. I chatted with Charlie, who is currently touring in France, to dig a little deeper and to find out if what I thought I knew about this individual is true…

After exchanging pleasantries, (one of which included a light-hearted apology from Charlie, who had just awoken from a much needed nap, which is more than forgivable given the intensity of his French tour– “I have got 17 festival dates in France alone”), I got down and chatty with Mr. Winston.

Hannah: So you’re touring quite intensely in France at the moment– your single Like a Hobo reached No.1 in France and your album Hobo reached No.2 in the physical charts and has been in the Top Ten album charts in France since its launch in January. You obviously have a very strong fan-base there; what do you think it is about your music that makes you so successful across the channel?

Charlie: I have a very particular, refined style. I have had time to develop what I do and who I am, I’m 30 and I’m glad that I have taken the time to really give substance to what I am about. I don’t follow fashions– I would say I’m sort of “dandy” like and my style is quite…stylish. I have a very strong sense of my own style and it is genuinely who I am…I think they respond well to that in France. You know, the French like fine wine, mature cheese and mature musicians…

H: Well, you’re not over the hill yet!

C: [laughs] No, but I mean I took my time to develop my style and I never rushed. I knew I had something quite substantial to offer in my music and so I took my time and worked up a really good sense of my style…the Parisians and French in general respond well to character.

H: That makes a lot of sense. You have actually led me right up to my next question! I have read your biography and am a close follower of your work and it seems as though you have made your successes in this industry in a very authentic, honourable manner– for example you were introduced to Peter Gabriel in 2003, but you waited until you knew him as a friend before showing him your music– at which point he signed you and produced your first album Make Way. What gave you the sort of confidence in your material to hang back and wait for the right moment instead of trying to charge into the spotlight like so many aspiring artists do?

C: I have held onto a very strong sense of what is real and what isn’t real and, you know, fame…it’s all just a 20th Century invention and doesn’t really mean anything. It isn’t who I am and could all change at any time. I constantly remind myself of what is real and, with meeting Peter, I was more interested in connecting with him as a person than just getting straight in there and promoting myself to him. Peter was actually quite impatient with me, he wanted to get the ball-rolling and hit it big, getting Virgin involved…but me and my management wanted to do things slowly and properly.

H: Are your management as patient as you?

C: Yes. They know they have to be and they would be shooting themselves in the foot if they weren’t. That’s not what I am about. I am a complete opposite to the manufactured packaged artists. Everything that I produce from the “Charlie Winston” brand is genuinely Charlie Winston.

H: Yeah that really comes across in your music and in your live performances.

C: Thank you. Have you seen me perform?

H: Yeeeeesss…[I then regale Charlie with the (true) tale of the first time I met him after seeing him perform a beautifully sensitive and poetical song called Every Step (on the album). This ‘meeting’ involved me flying after him in desperation as he made his way off stage and towards his dressing room, while I shrieked that I needed the name of the song and a copy of it. Instantly if possible. A year later, I got it when Hobo was released in France. Charlie seems flattered rather than scared…]

C: Oh yes I remember that! I was chuffed that someone had picked up on that song.

H: [Well pleased with myself] The kind of acknowledgment that you’re currently getting in France…

C: Yeah, and I think I will be okay in the UK. You know I have done a lot in the UK with Tom (Baxter– Charlie’s brother who is also an established folk–singer), with Daniel Powter…But it doesn’t matter. I look at what I have got rather than what I haven’t and you know anything from here is just a bonus. Even if I don’t make it really big in the UK, at least I have got this, what I have got now.

H: Is it this attitude that has made you so successful?

C: Everything is a magnet in the world, you know. As soon as you push something too hard, it doesn’t work out. As soon as you stop wanting for something, you attract it. It’s like with relationships; you have to just let it go for it to work. And the relationship between me and my music is the same. It is almost that when you let things go, they go right for you.

H: How would you describe yourself in 3 words?

C: [much deliberation] Erm… Fun… Serious.

H: Did you say “Curious”??

C: [laughs] No I said “Serious”. But Curious is better. I am Fun, Curious…[More deliberation] thoughtful…[Evidently!]

H: Well done. How would you describe Hobo in 3 words?

C: Fun….Curious…and Thoughtful!

H: [laughter] I was hoping you would say that!

C: Ah there you go, you didn’t push too hard for it…

H: …so it worked out well for me.

[more laughter. mainly from me.]

C: Another way I like to describe my records is Fight-club…you know, the film. The film really reflects my records, all the underlying themes and illusions about the modern world. I watch and I think that is exactly it!

H: I didn’t actually realise Brad Pitt was an illusion until right at the end of that film.

C: [Laughs] What? How near to the end before you realised??

H: Oh someone had to tell me. About five minutes before the closing credits. I need to watch films like this under supervision [laughter]… So Fight-Club defines your music then? I like how you’re illustrating your music with films!

C: And also Casablanca, have you seen that?

H: Yes I have seen that…at some point…I think!

C: And a bit of the German film Wings of Desire, with that guy who is in Columbo, peter Faulkner. Wings of Desire is this amazing film with angels in long black trench coats.

H: It sounds like City of Angels…

C: Yeah City of Angels is a direct rip-of of Wings of Desire. These films are a big influence and are really reflective of my music.

H: So speaking about what influences you…You come from a very multi-talented musical family it seems! We have already mentioned your brother Tom Baxter, who I know is very successful in the industry, and your sister Vashti Anna also sings. How big an impact has your childhood had on your musical career and directed your path as an established singer? I know you grew up in your parent’s hotel, through the doors of which many artists and performers passed…

C: Childhood is a very powerful parlour of memories and food to fuel music– from listening to my parents singing to the guests at the end of the night in the Hotel bar, to Tom singing in Charlie’s Bar at the back of the hotel, my lessons with Mrs. Mills, break-dancing with my friends in the ball-room at the hotel, playing drums at 8 years old, listening to my sister doing singing lessons and learning how to sing properly… and then there’s all the chaos. You know my parents divorced when I was 11 and we were all still in the hotel, so it was quite destructive…that destruction is what gives the break-through when you’re writing music. It was an escape from city life and I definitely take a lot of inspiration from all that.

H: The influence your childhood and your family have on your music really comes across in your songs– you get a really strong sense of childhood and “growing up”. So speaking about your family a little bit more, you were actually in a band with Tom for 3 years; did you see that as a period particularly instrumental to your success?

C: I was playing on and off with Tom since I was 19. You know, I had just finished studying, I didn’t have a piano and I was staying in Tom’s apartment in Clapham. The apartment had a basement and Tom got excited and said “let’s get a band together!” So we did and I started playing Bass. But after I while I missed composition and doing my music for myself, so I went to India for a month when I was 21 and when I came back I decided to set off on my own. I did a lot of big productions in London in that time, but was still working on and off with Tom and when he started getting interest he took me along with him– it was a hand-in-hand thing.

H: That is really lovely!

C: We’re brothers and we support each other as much as possible. I helped him out and he wanted to give that back. Tom always felt a bit indebted to me and you know that’s why he gave me so many supporting slots in his gigs. But you know it is funny ‘coz the tables have turned a bit and he is supporting me in France in the future and it’s great that I can do the same for him as he did for me. We put our egos to one side and you know there are things more important than getting competitive. You know we all die in the end, not to sound morbid, but that is what happens and that is the one thing I am certain of in life, so you know there’s things that are more important.

H: We all kick the bucket in the end, Charlie… [I am really pleased with myself again as I manage to squeeze in a line from Charlie’s song Kick the Bucket– also on the album]

C: [Laughs] Yes, we do!

H: Just a few more little questions if you please! I mentioned earlier my love of the song Every Step; it is so perceptive, I listen to it and I think “How does he know that is what it feels like?” So what or who inspired that?

C: It was a relationship I had that was like a firework, you know it went out very quickly and it hit the floor quite hard. I spent the relationship realising there were issues and thinking I could help that person, but all I could do in the end was step away and so that is what I did. The song is about that.

H: But for a man to sing something so perceptive of female feelings, what you sing about in Every Step is very specific to women and that feeling of rejection and insecurity…yet you express it so accurately given that you’re a man!

C: You know it is funny, a friend asked me that after they heard it. She said “How do you know this is how it feels?” But you know it is just a perception. I wrote that song in one hour. It is a very universal feeling I think. Like the line caught in the anger you feel for your dad- it is a very universal feeling. And I know this from growing up with my sister and from girlfriends I have had. People ask me why I write so much about family and relationships, but you know these things are what reach out to everyone. They are universal feelings and concepts and so people can understand what you’re singing about.

H: And finally…you have a song on the album called My Life as a Duck, would you be reincarnated as a duck do you think?

C: [Laughs] I actually wrote that song after a dinner party where we were all saying what animal we would come back as, and I said I would be duck! And then I was playing this game with my girlfriend of the time and we would give each other song titles and we would then have to write about it, and she gave me that one! But you know it’s weird ‘coz I showed the song to my mum after I wrote and she read it and said “oh that is weird…” and then she told me this story about how when Tom and I were little we used to come running in saying “we know this, we know that” you know like kids do, and to shut us up she used to turn around and say “I know everything about you, your father was a duck!” And so that is why I added that last line.

H: That is funny! My friend Marcus and I were trying to work out what the hell that line meant. So thanks for clearing that up!

C: You’re welcome.

H: And thank you very much for your time, it has been absolutely lovely chatting to you Charlie and I wish you best of luck with the rest of your French travels and hope to see you soon.

C: Thank you– I’ll see you next time I am up in Sheffield! Have a great day Hannah.

Somehow I think I will have followed him after a gig, demanding song names off of him well before he next makes it up to Sheffield…

* * *

Charlie Winston is exactly the man his music presumes him to be and he is as authentic an artist as his acoustic guitar and trademark waistcoat & tie combos imply. The French have beaten us to it in recognising such raw talent and salient performance, but it certainly isn’t too late for the UK to skip onto Charlie’s cheerful bandwagon and enjoy the journey, like I certainly am.

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In the heart of Novi-Sad in Northern Serbia, alongside the river Danube, elevated far above reality in the Petrovaradin Fortress, a maze of the worlds most commendable music artists, unknown hopefuls and devoted listener’s from across Europe gather to celebrate ten years since the very first EXIT festival. Originated as an anti-Miloševi protest and primarily a political endeavour started by three Serbian university students in 2000, the first EXIT festival lasted 100 days. Every year since EXIT has been a 4 day music extravaganza, each year the festival gaining momentum in the media, growing in magnificence, now being named Europe’s largest festival.

and Exit 2009 was no exeception.

Nothing could prepare you for the euphoric ambience as you walked around the castle, nestled amongst thousands of like minded revellers absorbing the sounds, beats, rhythms, lights and people– attendees reached near 200,000, the majority of whom were British, though people swarmed from Austria, Germany, Spain, Hungary, Croatia and even Australia. It is no surprise that in 2008 UK festival award commended EXIT with best European festival. With over 20 different tents and arenas, each one brought something unique to the spectacle; a musical genre and cocktail of entertainment for every taste. Rock, Electronica, Dance, House, Progressive, Techno/Minimal, Metal, Hip-Hop and Punk– there is nothing this festival couldn’t offer. From Lily Allen kicking things off on the Main-Stage on Thursday sunset, to Eric Prydz literally shaking up the Dance Arena at sun-rise on Saturday, right through to Prodigy causing an energized riot for the start of Sunday’s remarkable finale; the atmosphere never once fell from the intense dizzy heights that it reached up in the fortress.

In terms of the more alternative arenas, there was the Latin stage, where people could be found shaking it Latino-style to artists they had never heard of. Or you could join the swarms through an ethereally lit cobbled passageway, to the other side where the Students Union Stage dwelled, offering free-coffee, recycling, painting, and all things “student”, whilst pumping out Old-Skool Funky House and Dance classics. Somewhere to escape the throngs and din, Silent Disco was hosted every night by an amusing and wonderfully wacky DJ from Holland, Michael Minten. Here you could retreat from the hordes, don your headphones and have a “private” rave to everything from Oasis to Pendulum to local Serbian sounds.

For a more conventional gig by best-known and loved artists such as Moby, The Arctic Monkeys, Madness and The Manic Street Preachers, there was the ambitiously sized Main Stage, where you could enjoy a two hour concert by each act, complete with an audience of 40,000 +, the statutory encores and an atmosphere only experienced when you and 39,999 others know you are sharing in some of the most intense and euphoric music appreciation known to festival-goers worldwide. By the time Chase and Status hit the Main Stage on Sunday night, most were still enjoying the revelry and were no less energised than on the night they arrived.

The Dance Arena was a whole other world; down low in a natural open space of the fortress, the entire arena shook with the deep vibrations of the Dance sounds propelled out by the back to back DJ sets. Some featured were well-known in Western Europe– such as Steve Lawler, Carl Cox and Eric Prydz– others were more unfamiliar but equally as engaging. The DJ’s sat like Gods in an enormous cube shaped DJ box, looking out at the 20,000 odd worshippers who had come to lose themselves in the overwhelming sounds and breath-taking atmosphere. As the sun came up over the fortress, the hard-core amongst us continued to rave in front of the heroes of the dance arena, whilst other areas of the festival began to fade into the quiet of the day.

Embodying four days and four nights of intense music, dance, festivity and a tremendous tangle of musical genres, EXIT festival is nothing if not epic. For a mere £75 entry fee for the four days and beer costing just 160 Serbian Dinar (less than £1.50) per pint, this festival is value for money personified and creates stern competition for those UK based equivalents such as Glastonbury, Leeds and Reading. Offering great diversity, only a small tug on your wallet and in a surreal yet brilliant setting that far surpasses the usual muddy fields on which most festivals establish themselves; why wouldn’t you join the au fait masses at EXIT 2010?